There is so much of musical interest in Jennifer Higdon's
Violin Concerto that it is difficult to pin down exactly what it was that
endeared it to the 2010 Pulitzer committee. It is a work of almost continuous
invention. It also has impressive momentum and focus. The sound-world, so
far as is possible to generalise, is American, and like most of her compatriots,
Higdon is only ever a few stylistic steps away from Stravinsky. The music
is reminiscent of John Adams, but with more edge and more drive than even
he can muster. Repeated listening reveals that a wide array of percussion
effects are used to underpin the many diverse textures. Impressively, though,
most of these are very subtle, adding propulsion and colour to the orchestral
textures from within.
†
As is probably obvious by now, I'm having a lot of trouble putting this work
into words. Structurally it is in a fairly conventional concerto form, so
that is at least one handle for listeners, but beyond that innovation is the
key feature. The solo part is not overtly virtuosic, although it is clearly
very difficult. As with the orchestral writing, the solo line is all about
exploring the timbral possibilities of the instrument, and combining them
into a sweeping lyrical line. There is little tonality or modality here, yet
the music always sounds like it is grounded in some sort of compositional
theory, I'm just at a loss to describe exactly what it is.
†
The performance is excellent. The work is quite sectional, and Hilary Hahn
(the dedicatee) is never fazed by the successive gear-shifts and changes in
style, dynamic and technique. There is something quite grounded and earthy
about her tone that suits this music well. But there is plenty of variety
in her sound too, an essential attribute in a work that depends so much on
musical variety for its substance.
†
The Tchaikovsky too is given a solid and musically substantial reading. Hahn
again plays with a rich, complex tone, but that doesn't mean that she is unable
to sing in the more lyrical passages. She retains an impressive sense of control
over the music, and there is little recourse to overt rubato or portamento.
I love her vibrato in the Tchaikovsky, it is narrow, fast, and so subtle that
you don't even realise it is there unless you listen in hard. The slow movement
is a little faster than usual, and a bit more matter-of-fact than you might
find elsewhere, but removing some of the traditional sentimentality does it
the world of good.
†
I hardly need mention that Hahn's performance is technically note-perfect,
and the same goes for the orchestra. And while this disc is undoubtedly a
feather in the soloistís cap, it also joins a long and growing list of top
quality recordings involving Vasily Petrenko and the RLPO. The orchestra take
everything in Higdon's score in their stride, including a range of extended
techniques. Just as impressively, it seems Petrenko resisted the temptation
to devote the whole rehearsal time to the new work, as the orchestra also
puts in an impressive performance in the Tchaikovsky. Special mention should
go to the woodwind, who are on glowing form, and are magnificently served
by the technicians.
†
A good recording then on all fronts. Jennifer Higdon is not yet a household
name in the UK, so perhaps America is the target market for this disc. I notice
though that the London Philharmonic has recently released a recording of her
Percussion Concerto, so it is probably just a matter of time. And we are already
familiar with the talents of Hahn, Petrenko and the RLPO, all of whom are
on fine form here. †Gavin Dixon